The Lemon Twigs have released a video for “Never In My Arms, Always In My Heart,” off their most recent album Go To School, out now through 4AD. The video was directed by frontman Michael D’Addario, who also stars in the video, and Winston H. Case.

Go To School is a glam-inspired concept album about a chimpanzee raised as a human boy—no, seriously. That sort of free-wheeling fancy made the album one of the most effortlessly fun listens of the year, and “Never In My Arms” acts as the introduction to the world that the D’Addario brothers built for us.

It’s a bit jarring, then, that the video is so … depressing. That’s not to say it’s not fun, because it is, in a darkly ironic sort of way. But the story it tells is a far cry from the outlandish fantasy of a chimp in a human’s world. The video follows the trials and tribulations of a barfly couple and their (very publicly) dissolving relationship, It’s the sort of sad scene you might see unfolding at a local watering hole at 8 p.m. on a Wednesday.

“Brian and I played in a whole lot of Long Island bars growing up, and man, we met a lot of people like this,” Michael D’Addario says in a statement. “Sometimes the Long Island mothers would gossip and you’d hear a sad story like this one, and somebody would end up with a tattoo that said ‘Never In My Arms, Always In My Heart.’ A weekend in Hicksville.”

‘Never in My Arms, Always in My Heart‘ is taken from The Lemon Twigs‘ second album ‘Go to School’ out now on 4AD Records,

The Lemon Twigs will be touring throughout November, and will start up again in January of next year

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Beach House have released a further music video for “Pay No Mind,” from their latest album7. The video was directed by Michael Hirsch, and is made up of touring footage from 2015-2018. “We’ve been lucky to have friends join us on the road over the years,” the band said in a statement. “They’ve helped us stay sane through all the hard touring.”

“Pay No Mind” is perhaps the most romantic song off7. Its gentle, lethargic chords feel like a prom-night waltz at the bottom of the sea, Victoria Legrand’s vocals shining down like fractal pillars of light. The video finds the small serenities in the chaos of touring—from the murmuring excitement of the crowd to the bliss of performance and the road the next day, the video finds solace in repetition.

Watch “Pay No Mind” below and check out the earler video and7 standout track “Drunk in LA.” The video was directed by album co-producer Sonic Boom, who also remixed Beach House’s “Black Car.”

The video is the third from7, following “Dark Spring” and “Black Car.” It features wobbly, watery animation of everything from liquid horses to fractal treetops, to a blacklight-infused stage play set.

The band said the idea came from Sonic Boom, aka Pete Kemper, while they were all out together at dinner and he “mentioned an idea for a video where the viewer is always looking up from the ground.” After complimenting him on the dreamlike nature of the video, “he wrote that it was essentially just a day in his life.”

Beach House just wrapped a sold-out North American tour, and will be embarking on a European tour this fall.

The legendary Dan Stuart songwriter, author and habitual expat currently residing in Mexico City. He was a founding member of Green on Red and Danny & Dusty in the 80’s before leaving the music business in 1995 for a decade and a half. His comeback solo record in 2012 has the same title as his 2014 false memoir: The Deliverance of Marlowe Billings, both available through Cadiz Music, London. That was followed by Marlowe’s Revenge recorded with Mexico City’s Twin Tones and released in 2016 through Cadiz Music in UK & Europe and on Fluff & Gravy Records in the Americas. The last of the trilogy, The Unfortunate Demise of Marlowe Billings, came out in July of 2018 along with a novel of the same name.

Have a look at Dan and Tom playing The Day William Holden Died and What You’re Laughing About.

we’re celebrating Pillar Of Na by releasing this one-take live version of the title track. It was recorded by our friend and longtime videographer Jon Washington at Musicol Studios in Columbus. Musicol is Ohio’s oldest studio and also a vinyl pressing plant.

Pillar of Na is Saintseneca’s most ambitious album to date, with Little aiming to incorporate genre elements he’d rarely heard in folk. “I wanted to use the idiom of folk-rock, or whatever you want to call it, and to try to do something that had never been done before,” Little explains. “To reach way back, echoing ancient folk melodies, tie that into punk rock, and then push it into the future. I told Mike Mogis I wanted Violent Femmes meets the new Blade Runner soundtrack. I’m looking for the intersection between Kendrick Lamar and The Fairport Convention.”

Memory is the common thread running throughout the Columbus folk-punk band’s fourth album, Pillar of Na, arriving in August 31st via ANTI- Records. Following 2015’s critically lauded Such Things, the new album’s name is rooted in remembrance, referencing the Genesis story of Lot’s wife who looks back at a burning Sodom after God instructs her not to. She looks back, and God turns her into a pillar of salt. “Na,” meanwhile, is the chemical symbol for sodium. “Nah” is a passive refusal and the universal song word. It means nothing and stands for nothing. It is “as it is.”

The other big news is that our European tour starts next week in Oxford, England. It’ll be our first time over in 3 years and also our first time in places like Paris, so we’re majorly jazzed to be playing these songs for the first time in Europe.

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Mercury Rev is an American indie rock group that formed in 1989 in Buffalo, New York. A band committed to experimentation and reinvention, their music has run the gambit from neo-psych and noise rock, lush pastoralism, and 4/4 electronica. In 1998 Mercury Rev delivered the unexpected, a hit album. Deserter’s Songs, the fourth studio long player from the New York-based band not only delivered three UK Top 40 singles, but also struck cultural pay dirt across the globe that still resonates today.

Fully cementing Mercury Rev’s rebirth as purveyors of a cosmic brand of the popular American songbook, Deserter’s Songs is an album of grandiose proportions. Merging jazz, folk, sweeping orchestration, and a dose of 60’s rock, the album was intended as the band’s swan song and therefore made with utter abandon. However, it became the band’s most acclaimed platter and remains one of the essential records of the past 25 years. Deserter’s Songs was released to huge worldwide acclaim and went on to be named album of the year in 1998 by NME, MOJO and many other publications, quickly propelling the legendary iconoclasts into living rooms worldwide and pioneered the launch of a new genre of music, heard today in bands like Arcade Fire and Beirut. Originally released on V2 Records, Deserter’s Songs was chosen as the first release on our new imprint, Modern Classics Recordings. Modern Classics’ Deserter’s Songs is the first LP reissue of this landmark album, long overdue if you ask us. Beautiful audio re-master comes courtesy of co-producer and original Mercury Rev member David Fridmann

Deserter’s Songs is at once a lullaby, a trip, and a triumph.”
-9.3/10 – Pitchfork (Top 100 Albums of the 1990’s)

Bobbie Gentry’s The Delta Sweete Revisited is Mercury Rev’s committed and affectionate resurrection of an album that anticipated by three decades their own pivotal expedition through transcendental America, 1998’s Deserter’s Songs. From their recording lair in New York’s Catskill Mountains, the founding core of Jonathan Donahue and Grasshopper with Jesse Chandler (previously in the Texas group Midlake) honour Gentry’s creative triumph with spacious invention and hallucinatory flair. And they are not alone. Gentry’s stories and original resolve are brought to new vocal life and empowerment by a vocal cast of women from across modern rock and its alternative paths: among them, Mazzy Star’s Hope Sandoval; Laetitia Sadier, formerly of Stereolab; Marissa Nadler; Margo Price, the fiery new country star with a punk-rock heart; and Norway’s Susanne Sundfør, who cuts through “Tobacco Road” with arctic-Nico poise as the Rev’s trademark technicolor orchestration sweeps us towards the penultimate poignant love lorn wash of Beth Orton’s “Courtyard” and into the melancholy mystery of “Ode to Billie Joe” from America’s other grand southern belle Lucinda Williams.

On the 1968 LP, Gentry opened with a call to jubilant order, “Okolona River Bottom Band,” like she was leading a barn-dance union of the Rolling Stones and Louis Armstrong’s Hot Five. Norah Jones takes that entrance here with her own sultry command, like Sarah Vaughan at the head of a slow-blooming choir. In “Sermon,” Margo Price sings like a survivor through Mercury Rev’s explosion of colour and groove: a specialty throughout the band’s history as recently as 2015’s The Light in You going back through 1995’s See You on the Other Side.

Gentry is still very present in the changes. Her seesaw of pride and hurt in the melancholy blur of “Penduli Pendulum” is even more explicit with the seasoned intimacy of Vashti Bunyan set against the younger, brighter arc of Kaela Sinclair, now in the electronic project M83. And in “Courtyard,” a despairing finale of strings and guitar arpeggios on Gentry’s LP, Mercury Rev build a striking Delta Krautrock in which the English singer Beth Orton wanders, like Gentry, through a ruin of profound loss and treasured memory.

“Ode to Billie Joe” was not on the ‘68 Delta Sweete. But Mercury Rev go back to that dinner table with Lucinda Williams, and it is an inspired bond, calling up the ghosts and questions of a South still very much with us. Indeed, Gentry—who retired from recording and performing in the Seventies—reportedly lives only a couple hours’ drive from the bridge that made her famous, while the spirits she set loose in The Delta Sweete are as restless and compelling as they were 50 years ago.

Mercury Rev will on tour in the UK next month celebrating the 20th anniversary of their classic album Deserter’s Songs. Full Dates here.

Mercury Rev have announced the release of Bobbie Gentry’s The Delta Sweete Revisited, available 8th February 2019 via Bella Union.

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Arrow de Wilde has come here to bleed. She’s standing tall and slim in shiny white satin on an outdoor stage in Hollywood, stumbling behind the mic, grabbing her forehead, her crotch, eyeballs bulging. “I got a problem with you in my world,” she snarls on the song “Let Her Be,” as her band Starcrawler rips up the night air with a fuzzy, modern take on Seventies glam rock and punk.

“Come on, turn up your fucking hearing aids!” de Wilde challenges her audience of the moment, which is bold talk considering that Starcrawler is here opening for an all-star tribute to the MC5. The headlining act includes half of Soundgarden, with members of Guns N’ Roses, Fugazi, Faith No More and the original Motor City 5. But de Wilde will come as close to blowing that firepower off the stage as a wild-eyed 19-year-old can.

She leaps into the front rows, grabs a fan’s cell phone and tosses it into the crowd, and then takes someone’s 35mm camera before crawling back onstage to smash it on the floor. The band hardly seems to notice. Guitarist Henri Cash slashes a raw, hypnotic rhythm from a song called “Chicken Woman,” and de Wilde begins drooling fake blood and looking like a woman possessed.

“Walked in the house/Slaughter written on the wall,” she warns, eyes rolled back. “They’re just counting seconds/Before the eye starts to fall.”

For de Wilde and the Los Angeles band, rock & roll is meant to be loud, physical and messy. The songs are tough and tuneful, with echoes of Black Sabbath, Kiss, Alice Cooper and T.Rex, soaked in loads of reverb and bad attitude. Starcrawler formed only three years ago and just dropped their self-titled debut in early 2018, but people are quickly taking notice, thanks to their infectiously scuzzy hard-rock tunes and unhinged live shows, which have already earned them praise from Garbage’s Shirley Manson and a spot opening for the Foo Fighters.

“I try to control it, but sometimes I can’t,” de Wilde says of her onstage abandon, over breakfast in Los Angeles, now mostly soft-spoken as she eats a bowl of granola and yogurt. Her hair is bleached to a frazzled blonde. “I just let it happen. Sometimes it happens in my favor, sometimes it doesn’t. I forget that people’s senses of humor aren’t the same as mine.”

There was that night at the desert roadhouse Pappy & Harriet’s near Joshua Tree, California, when she spit up water on a table full of people eating ribs. The band, which also includes drummer Austin Smith and bassist Tim Franco, sometimes gets mad over the confrontations. “We did have to pay for a guy’s broken phone because I knocked it out of his hand at a Foo Fighters concert at London Stadium. Those fans also hated us,” she says with a laugh. “They did not like us at all.”

The band’s 10-song debut, Starcrawler, was produced in L.A. by singer-rocker (and not-so-secret metalhead) Ryan Adams, whose private Pax-Am Studio was decorated with Danzig and 45 Grave posters. De Wilde and Cash write most of the songs together, and Adams advised them to strip things to their essence, including the psycho-twang of “Train,” which opens the album at under 90 seconds. De Wilde’s blues lyrics were inspired by ancient train hoppers and prison escapees.

“He’s a songwriter, so his producing has to do with the song itself — like, stop doing that craziness: ‘Don’t bore us, get to the chorus,'” de Wilde says of Adams. “I’ve always liked songs that have good hooks and don’t have a bunch of bullshit.”

Twice as long as “Train” is the hard-rocking “I Love LA,” a churning tribute to her hometown that presents a portrait of the city beyond its Hollywood clichés. “There’s so many people you see walking down the street, like a ranchero walking next to an old Jewish lady handing out rainbow cookies,” says de Wilde. “There’s flowers everywhere and there’s different smells: tacos and weed and piss and whatever. At any part of the day you can get two-dollar tacos that are amazing.

The band is rehearsing today, but they’re working without de Wilde, since she plans to be busy painting her new apartment a variety of “fun colors” with her boyfriend, filmmaker Gilbert Trejo (son of Machete star Danny Trejo). He directed a horror music video for the manic “Chicken Woman,” opening with a scene of a panicked de Wilde covered in blood and limping down an empty desert road.

The album’s lone ballad, “Tears,” is about de Wilde’s only experience with heartbreak. “I dated another musician. Me and Henri started writing it before I broke up with that guy, but then it became a way better song after we broke up,” she says happily. They haven’t figured out yet how to fit “Tears” into their otherwise hard-rock set, and no one ever asks for it, but the singer already knows how she wants it to unfold: “I’ve started crying during shows, which is hard, because it strains my eyes. It would be cool to cry during that song — like really bawling.”

The singer was born in 1999, the daughter of rock and fashion photographer Autumn de Wilde, who has referred to young Arrow as “my alien baby.” Arrow was sometimes photographed with some of her mom’s favorite subjects while growing up. Her father is rock drummer Aaron Sperske (Beachwood Sparks, Father John Misty, Blondes, etc.) who gave Arrow her first blast of Blizzard of Ozz at 13 and changed her life. She was on the crazy train for good.

On some school nights, her dad would sneak Arrow into a club to sing the Runaways’ “Cherry Bomb” with his cover band. She eventually started a fanzine and wanted to learn more about punk rock and glam, and turned to former Germs drummer Don Bolles for an interview. “I became obsessed with glam,” she says. “He came over to my dad’s place in Hollywood, and he showed me all these glam records and everything I need to know. Uncle Don, he taught me a lot.

De Wilde started dabbling in short-lived teen bands. There was one called Honey Creeper that lasted three performances before breaking apart. “They thought I was bossy and didn’t really believe that I could do anything,” she remembers. “They ended up starting another band without me in secret.” She put Starcrawler together while still at an arts magnet high school in downtown L.A. Smith was a Facebook friend she barely knew who played drums. She then approached Cash, a longhaired kid who carried a tuba around school but also played guitar. With Franco on bass, de Wilde’s dream band was complete.

“It took me a long time trying to find people. They were the only people I knew that could play music that were cool,” de Wilde says. “I just picked the right people that were determined. It meshed together.”

The sound that came out was close to what she already heard in her head. And the live sets were confrontational from the beginning, some squeezed into a tiny space for 50 friends right off of Sunset Boulevard.

With Starcrawler, de Wilde also discovered a side to herself she didn’t realize existed. The crazed banshee that hard-rock fans see onstage now is a long way from how she once saw herself. “I’m a pretty chill person,” de Wilde says with a laugh. But being in the spotlight has unleashed something dangerous and explosive. “I’m pretty low energy most of the time. My energy is used up in this one thing. Most of the time I’m sleepy.”

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On November 12th, 1979 , The Pretenders released the single “Brass In Pocket”, BRASS IN POCKET stomped like a troupe of clog-dancers having a tantrum. Chrissie Hynde licked each word until it squealed — the way she berated the object of her lust, wailing that she’s “Special. So special”.

The term ‘sassy’ was invented for the Pretenders’ numbers like ‘Brass In Pocket’, Chrissie’s voice scraping like scuffed boots on the sidewalk of experience. It was one of those rare records that is both classic pop song and something that catches the imagination of the nation and won’t stay away.

Threatening with what she was going to use, ‘Brass In Pocket’ was a great way to remember winter 1979; Hynde’s studiously delivered warning, a probing beat underneath, an incongruous west coast laze with a dash of command.

The video here is rare archive footage of The Pretenders rehearsing ‘Brass In Pocket’ from 1979.

I have little or no knowledge of the intricacies and tradition of swiftly picked 12-string folk music of the type played by Jim Ghedi and Toby Hay on The Hawksworth Grove Sessions. It’s a music that arrives in my ears via Laura Cannell’s recommendation over at our friends Caught By The River, rather than PR or record label machinations – and what a blessed relief it is. Masterful, intricate playing is actually often the sort of thing I can find myself reacting against – too earnest, too technically accomplished, too lacking in the cracks of ability through which the madness of inspiration might pour – but this 10-track album is an absolute delight and a balm for saturated times. Ghedi and Hay apparently composed the pieces while touring together, inspired by the landscapes in which they spend their daily lives. Their dexterity on the strings creates a sonic density that touches the psychedelic; it conjures an uncanny human presence, as if they’ve snared old ghosts and forgotten voices, and given them new life

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Magnetic Eye Records‘ exhaustive undertaking to re-envision Pink Floyd’s concept masterpiece THE WALL in its entirety from end to end in sequence, featuring some of the most iconic artists in heavy music today alongside some of the most exciting newcomers. I love the concept of these Redux albums, and the execution is amazing!

Comfortably Numb, but damn this was worth the wait. Absolutely delightful from side A to D. You can tell the amount of respect each artist has for the original material. It’s hard to overstate the cultural significance of Pink Floyd’s 1979 canonical album The Wall, and countless artists since have taken liberties with their own versions of the record’s songs. Sludge doom’s favorite prolific weirdos the Melvins have joined this lineage with a very special re-imagining of the album’s opener, which will appear on the compilation The Wall (Redux),

Incorporating into the experimental nature of the original their own brand of tone-in-cheek peculiarity, Buzzo and the gang have out-stranged Pink Floyd with campier organ tones and their signature gut-rumbling guitar fuzz. The cover’s warped tonality make the creep-out antics of the sweetly sung lyrics play out like an unsettling love story.

A good rule usually of thumb for covers is don’t do them unless you are either 1) completely revamping the song and giving it a different feel and sound, or 2) improving on the original. Pallbearer has definitely achieved No. 1, and only time will tell if Pallbearer have done No. 2, but we’ll be damned if they aren’t pretty close.

The Arkansas crew have taken on the Pink Floyd favorite “Run Like Hell,” one of the highlights of 1979’sThe Wall, and given it their own riffy feel, bringing the classic-rock staple into the now. Instead of David Gilmour’s simple reverb-heavy guitar lick, the melodic-doom quartet opts for a chugging, churning approach, leaning heavily on the gallop that exists in the original and bringing it to the forefront. And don’t worry, there are plenty of Pallbearer-isms to spare, from the soaring guitars to the masterful vocals. Pallbearer’s “Run Like Hell” cover is part of a Pink Floyd The Wall tribute album by Magnetic Eye called “THE WALL [REDUX]”, a stoner/doom-leaning compilation of tracks that match that of the iconic LP. Joining Pallbearer are names that range from the Melvins to Mark Lanegan to Ruby the Hatchet, each taking one of the album’s classic cuts.

The Wall (Redux)sees each track of the album recreated by a contemporary heavy artist, from newcomer cult rockers Church of the Cosmic Skull taking on “The Trial,” to established Gen X rocker Mark Lanegan lending his signature rough-edged vocals to “Nobody’s Home.” “I am a fan of early Pink Floyd and late period Floyd but was never really into the really famous records in between,” Lanegan says in response to a question about his own appreciation of the band. “Piper at the Gates of Dawn, A Saucerful of Secrets and More were my jams. And in the late ’80s I enjoyed A Momentary Lapse in Reason and even The Division Bell from ’94. “But honestly it’s the two Syd Barrett solo records that to me are true genius, and if I were going to listen to any Floyd-related tunes that would be it. The Wall is a work of undeniable greatness, an unparalleled work of art. There are so many fantastic songs that it’s practically a greatest hits record. But I’ll be damned if I know what its contemporary relevance is.

Side D
1. The Show Must Go On – Open Hand
2. In the Flesh – Solace
3. Run Like Hell – Pallbearer
4. Waiting for the Worms – WhiteNails
5. Stop – Blue Heron
6. The Trial – Church of The Cosmic Skull
7. Outside the Wall – Yawning Man

Well, I'm dyslexic so writing about something I love: Music, might help but it's most likely just full of mistakes. That title is also lyrics from The Drones song called I Don't Want To Change. Oh, my name is William and thanks for having a look.